In-Person and Virtual Lectures and Community Engagement 2021-22
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In-Person and Virtual
Lectures and Community
Engagement 2021–22
1
About the Metropolitan Opera Guild The Metropolitan Opera Guild is the world’s premier arts education organization dedicated to enriching people’s lives through the magic and artistry of opera. Thanks to the support of individuals, gov- ernment agencies, foundations, and corporate sponsors, the Guild brings opera to life both on and off the stage through its educa- tional programs. For students, the Guild fosters personal expression, collaboration, literacy skills, and self-confidence with customized education programs integrated into the curriculum of their schools. For adults, the Guild deepens the knowledge of both the first-time operagoer and the lifelong fan through intensive workshops, pre- performance talks, and community engagement programs. In addition to educational programs, the Guild serves as publisher of Opera News, the world’s leading opera magazine. With Opera News, the Guild reaches a global audience with the most insightful and up-to-date writing on opera available anywhere, helping to maintain opera as a thriving, contemporary art form. For more information about the Metropolitan Opera Guild and its programs, visit metguild.org. Additional information and archives of Opera News can be found online at operanews.com. How to Use This Booklet This brochure presents the 2021–22 season of Lectures and Community Programs grouped into thematic sections. Our courses of study are arranged chronologically, and learners of all levels are welcome. To place an order for virtual programs, please visit metguild.thinkific.com. To place an order for live, in-person programs, please visit metguild.org or call the Guild’s ticketing line at 212.769.7028 (Mon–Fri 10AM–4PM ET). COVER PHOTO: KAREN ALMOND / MET OPERA 2
In-Person and Virtual Lectures and Community Engagement 2021–22
W E LCO M E The Metropolitan Opera Guild has an extraordinary history of sharing the magic and artistry of opera with audiences of all ages. Since 1935, the Guild has harnessed the power of opera to enrich the lives of New York City’s diverse communities through educational and community programs that excite, inform, and inspire. Once again, we are proud to present a season full of exciting opportunities that take audiences deeper into the magical world of opera. Whether you’re an opera novice or an avid fan, there is much to look forward to in our 2021–22 season. Join us in person or online as we explore a wide array of stimulating courses taught by an illustrious lineup of recognized experts in their field. Our programs offer opportunities to gain insight on the history of opera, experience performances by rising stars, and get an inside look at the creation process of the art form. My hope is that our Community Engagement programs will convey the deep passion and commitment that we feel towards opera and towards the audiences that we serve. Please join us, bring your friends, share in the joy of music, and be inspired! Sincerely, Richard J. Miller, Jr. President
TA B L E O F CO N T E N T S
Presenters, Panelists, Artists, and Staff 6
Insights on the 2021–22 Metropolitan Opera Season 8
The Met: Live in HD
Score-Desk Ticket Program 10
Backstage Tours
Guild Membership and Ordering Information 11
Our Commitment to Our Audiences 12
In-Person Opera Learning Opportunities 13
Opera Outlooks: Pre-Performance Lectures 14
Masterly Singing 16
Master Classes
Vocal Showcase
Opera Boot Camp 18
Opera and Greek Drama
Study Days 20
French Grand Opera
Opening to the Experience of
Wagner’s Die Meistersinger von Nürnberg
Russian Opera
Madness in Lucia di Lammermoor
Courses 22
The Evolution of the Ingénue
Verdi the Innovator
Online Learning: Virtual Opera Learning Opportunities 25
Online Score Reading 26
Online Learning Courses 27
Online Opera Boot Camp 28
Introduction to Operatic Staging
Biographies of Lecturers, Presenters, and Teachers 30
Calendar of Events 34
Metropolitan Opera Guild Board of Directors 38
Map of Event Locations 40
PR E S E N T E R S, PA N E L I S T S,
A R T I S T S, A N D S TA F F
PROGRAM LEADERSHIP Nimet Habachy
Lecturer, Writer, and Broadcaster
Vanessa Kubach
Interim Managing Director Steven Hrycelak
THE METROPOLITAN OPERA GUILD Bass
Stuart Holt Joanne Sydney Lessner
Director of School Programs and Librettist and Author
Community Engagement
THE METROPOLITAN OPERA GUILD
Jane Marsh
Soprano
Artistic and Program Consultant
THE METROPOLITAN OPERA GUILD
Danielle Barnett
Senior Associate of Community Engagement Desirée Mays
THE METROPOLITAN OPERA GUILD Author and Lecturer
Harolyn Blackwell Tanisha Mitchell
Soprano and Educator Music Librarian and Lecturer
Michael Bolton John J. H. Muller
Individual and Planned Giving Officer Professor of Music History
OPERA PHILADELPHIA and Graduate Studies
THE JUILLIARD SCHOOL
Victoria Bond
Composer and Conductor Dr. Naomi Perley
Lecturer
Mackenzie Cole
Manager of Community Engagement Dr. Mark Pottinger
THE METROPOLITAN OPERA GUILD Associate Professor of Music and Theater
MANHATTAN COLLEGE
Elspeth Davis
Senior Associate of Community Engagement Harlow Robinson
THE METROPOLITAN OPERA GUILD Professor Emeritus of History
NORTHEASTERN UNIVERSITY
F. Paul Driscoll
Editor-in-Chief W. Anthony Sheppard, Ph.D.
OPERA NEWS Professor and Chair, Music
WILLIAMS COLLEGE
Phillip Gainsley
Lecturer Matthew Timmermans
Author and Lecturer
Peter Gelb
General Manager
THE METROPOLITAN OPERA
6
THE 87 TH ANNUAL METROPOLITAN OPERA GUILD LUNCHEON
Benefiting WWW.METGUILD.ORG
the Education
Programs of /LUNCHEON2021
the Metropolitan
Opera Guild
212.769.7009
TICKETS
START AT $75
Monday,
November 8,
7 PM EST
artistry &
© NATALA KRECHETOVA (FACE); TRAFFIC_ANALYZER (NOTES)
A VIRTUAL gala honoring:
HAROLYN DIANA THOMAS
BLACKWELL SOVIERO HAMPSON
7
I N S I G H T S O N T H E 2 021– 22
M E T R O P O L I TA N O PE R A S E A S O N
Aft er a period of unprecedented closure, the Met returns this fall with
one of its most innovative and artistically rich seasons yet! Opening
with the company premiere of Terence Blanchard’s remarkable Fire
Shut Up in My Bones on September 27, the 2021–22 season features six
new productions—including additional Met premieres of Matthew
Aucoin’s Eurydice, Brett Dean’s Hamlet, and Verdi’s original five-act
French version of Don Carlos—and 16 extraordinary repertory
revivals. As always, night aft er night the world’s greatest stars will
take the stage, and some of today’s most talented conductors will
be on the podium.
We can’t wait to welcome you back to the opera house, and we are
committed to making the changes necessary to keep everyone safe,
including a mandatory vaccination policy for all audiences and
employees, improved ventilation, enhanced cleaning procedures,
and touchless entrances. We’ve also revised our ticket policies to
be as flexible and accommodating as possible in the event you are
unable to attend a performance. For more information about these
policies and improvements, visit metopera.org/Commitment.
A scene from Matthew Aucoin’s Eurydice
PHOTO: CORY WEAVER / LA OPERA
8
The Met: Live in HD 2021–22 Season
The Met’s popular series of live performance transmissions to
cinemas around the world continues for its 15th season, featuring
ten live broadcasts to more than 2,200 movie theaters. For more
information, visit metopera.org/hd.
OCT 9 MAR 12
Mussorgsky Strauss
BORIS GODUNOV ARIADNE AUF NAXOS
Weigle; Butt Philip, Paster, Janowski; Davidsen, Rae, Leonard,
Markov, Pape, Anger, Trofimov Jovanovich, Plumb, Kränzle
OCT 23 MAR 26
Terence Blanchard / Verdi
Libretto by Kasi Lemmons DON CARLOS
FIRE SHUT UP Nézet-Séguin; Yoncheva,
IN MY BONES Garanča, Polenzani, Dupuis,
Nézet-Séguin; Blue, Groissböck, Relyea
Moore, Liverman
MAY 7
DEC 4 Puccini
Matthew Aucoin / TUR ANDOT
Libretto by Sarah Ruhl Armiliato; Netrebko, Jaho,
EURYDICE Lee, Furlanetto
Nézet-Séguin; Morley, Orliński,
Banks, Hopkins, Berg MAY 21
Donizetti
JAN 1 LUCIA DI LAMMERMOOR
Massenet Frizza; Sierra, Camarena,
CINDERELLA Ruciński, Rose
Villaume; Pratt, Leonard,
D’Angelo, Blythe, Naouri JUN 4
Brett Dean /
JAN 29 Libretto by Matthew Jocelyn
Verdi HAMLET
RIGOLETTO Carter; Rae, Connolly, Nussbaum
Rustioni; Feola, Varduhi, Cohen, Lowrey, Clayton, Butt Philip,
Beczała, Kelsey, Mastroni Burden, Imbrailo, Gilfry, Tomlinson
The Met: Live in HD series is made possible by a generous grant from its
founding sponsor, the Neubauer Family Foundation. Digital support of The
Met: Live in HD is provided by Bloomberg Philanthropies. The Met: Live in
HD series is supported by Rolex. Transmission of Live in HD in Canada is
made possible thanks to the generosity of Jacqueline Desmarais, in memory
of Paul G. Desmarais Sr. The HD Broadcasts are supported by
Toll Brothers, America’s luxury home builder.®
9
S CO R E - D E S K T I C K E T PR O G R A M
For the most up-to-date information regarding score-desk tickets, please visit
metguild.org and select For the Community.
Expand your operatic experience and learn more about your favorite
work by studying its score during a live Met performance. Score-desk
seats are located in the Family Circle boxes. These special seats offer
no view of the stage but are equipped with a desk and reading
light, enabling the study of an opera’s score or libretto during the
performance.
TICKETS: $15 public | $12 Guild members | $10 students
Tickets are available for most Met performances. Galas and special events
may be purchased at a higher price.
B AC K S TAG E TO U R S
Please note that the backstage-tour schedule for the 2021–22 season has
not yet been announced. Please visit metguild.org for the most updated
information and calendar updates.
Go behind the scenes for an exclusive look at what it takes to make
operatic magic at the Met. Tours offer a fascinating backstage look at
one of the world’s premier performing arts organizations, including
visits to the scenic and carpentry shops, rehearsal rooms, dressing
rooms, and stage area.*
TICKETS: $35 public | $30 Guild members | $25 students
Backstage tour reservations are non-refundable and non-transferable.
Children under the age of 12 are not permitted on tours due to safety concerns.
*Please note that, due to rehearsal and performance activities in a working opera house, not
all areas may be available on every tour.
10GUILD MEMBERSHIP AND
O R D E R I N G I N F O R M AT I O N
Tickets for the 2021–22 season of Community Engagement Programs
will go on sale on Tuesday, September 14.
CALL 212.769.7028 Mon–Fri, 10AM–4PM
MAIL Complete the order form and return it with payment to:
THE METROPOLITAN OPERA GUILD, COMMUNITY ENGAGEMENT
70 LINCOLN CENTER PLAZA, 6TH FLOOR
NEW YORK, NY 10023-6593
ONLINE Visit metguild.org and select For the Community or the online
calendar to view all Lectures and Community Engagement events.
O N L I N E L E A R N I N G —V I R T UA L E V E N T S
Visit metguild.thinkific.com to view and purchase tickets for all
live virtual events and online-learning courses.
J O I N T H E M E T R O P O L I TA N O PE R A G U I L D
Enhance your Met experience by becoming a member of the
Metropolitan Opera Guild. All Guild members receive an annual
subscription to Opera News magazine and enjoy discounts at the Met
Opera Shop and online store, on Guild community programs and
backstage tours—and more.
ANNUAL MEMBERSHIPS BEGIN AT $85*
SUPPORTING MEMBERS ($150) enjoy priority ticketing for Met
performances, advance access to Live in HD tickets at participating cinemas
in the U.S. and Canada, exclusive online content—such as access to the latest
radio broadcast for one week after the live airing during the season—and more.
DONOR MEMBERS ($500) are invited to visit the Belmont Room, a
members-only lounge, to enjoy refreshments prior to a performance and
during intermission.
SPONSOR MEMBERS ($850) receive all of the Guild benefits above, a copy
of the Met Season Book, dress rehearsal passes, and more.
For information about Metropolitan Opera Guild membership and the Patron
Program, please visit metopera.org/membership or call 212.362.0068.
All events are held at the Metropolitan Opera Guild Opera Learning Center on the 6th floor of the Samuel
B. and David Rose Building at Lincoln Center, unless otherwise noted. Ticket requests are processed in
the order received; tickets may be available at the door for each event. All programs, presenters, panelists,
and artists are subject to change. All ticket sales are final. Tickets may be exchanged, subject to availability.
Limited open seating is available for all events. Student tickets are available to full-time students with a valid
student ID only. Please include a copy of the student ID with your order. Met Opera Guild member discounts
are available to current Guild members. Please provide your Met ID or membership number.
* Please note: The estimated value of non-deductible goods and services at the National, Supporting,
Contributing, and Donor levels is $25. At the Sponsor, Fellow, and Benefactor levels, the estimate value of
non-deductible goods and services is $50.
11O U R CO M M I T M E N T
TO O U R AU D I E N C E S
The Metropolitan Opera Guild is committed to the safety and
well-being of Met audiences, artists, orchestra, chorus, and staff.
As part of that commitment, we are implementing a mandatory
vaccination policy for everyone attending our live education
events this season, including on-site staff, lecturers, and artists. In
compliance with the CDC guidelines for fully vaccinated individuals,
the audience will be at full capacity. At this time, face masks will be
required within the Rose Building and the Opera Learning Center.
Should this policy change, we will notify audience members prior
to the event.
AUDIENCE REQUIREMENTS
All audience members must be fully vaccinated. You are considered
fully vaccinated two weeks after you have received a second dose in a
two-dose vaccine series or two weeks after you have received a single-
dose vaccine.
The Guild will need to see proof of vaccination against Covid-19 with
a vaccine approved or authorized for use by the U.S. Food and Drug
Administration (FDA) or by the World Health Organization (WHO).
All audience members must provide in-person verification of vaccination.
Prior to entering the Guild event, you will be asked to provide proof of
vaccination through the CLEAR app (if available to you), the Excelsior
Pass (for New York State residents), or an original physical vaccination
card or photograph of it. Trained individuals will review your proof of
vaccination as you arrive at the event.
All audiences will be asked to sign a Covid-19 waiver when purchasing
tickets. If you do not complete this prior to arrival, you will be asked to
complete it on arrival to the event.
If you have specific concerns about these requirements, please contact us at
212.769.7028 (Mon–Fri 10AM–4PM ET) or via email at info@metguild.org.
12I N - PE R S O N O PE R A - L E A R N I N G
O PP O R T U N I T I E S
A scene from Terence Blanchard’s Fire Shut Up in My Bones
PHOTO: ERIC WOOLSEY / OPERA THEATRE OF ST. LOUISO PE R A O U T LO O K S:
PR E - PE R F O R M A N C E L E C T U R E S
Take a closer look at these operas from the Met’s 2021–22 season with
our Opera Outlooks. These pre-performance talks give audiences
an overview of the evening’s performance, enriching their operatic
experience. All Opera Outlook lectures will occur live and in person
in the Guild’s Opera Learning Center.
FULL SERIES PACKAGE: $170 public | $145 Guild members and students
INDIVIDUAL PROGRAM TICKETS: $25 public | $22 Guild members | $20 students
FIRE SHUT UP IN MY BONES TICKETS: $20
public | $18 Guild members | $15 students
Pricing for this Outlook is different to account for a shorter lecture length.
The Psychological Downfall of a Tsar in Boris Godunov
TUE OCT 5 5:30–6:30PM Jane Marsh
Boris Godunov is encouraged by a crowd and goaded by the police officer
Nikitich to become tsar of Russia. Boris is filled with trepidation but appears
the next day before the expectant crowd on a square in the Kremlin. He
implores God to favor and look honorably upon him. Join Jane Marsh as she
discusses Modest Mussorgsky’s Russian operatic epic, his only completed
opera, which premiered in Saint Petersburg in 1874.
Family Portrait: Navigating Identities in Fire Shut Up in My Bones
WED OCT 13 5:30–6:10PM Joanne Sydney Lessner
This season’s Opening Night marks a historic production for the Metropolitan
Opera—the company’s first presentation of an opera by a Black composer,
Terence Blanchard’s Fire Shut Up in My Bones. Music Director Yannick Nézet-
Séguin takes the podium for this compelling new staging, which features
powerful musical monologues, gospel choruses, and unpredictable melodies.
Join Joanne Sydney Lessner as she shares insights into this tale of overcoming
trauma and past hardship.
To Hell and Back: Matthew Aucoin’s Eurydice
TUE NOV 30 5:30–6:30PM W. Anthony Sheppard
With music by prominent American composer Matthew Aucoin and a libretto
by celebrated playwright Sarah Ruhl, Eurydice was a marked success at its
world premiere at LA Opera in February 2020. A new examination of the
myth of Orpheus and Eurydice from Eurydice’s point of view, this vital new
work was part of the Metropolitan Opera / Lincoln Center Theater New
Works commissioning program. Join W. Anthony Sheppard as he explores
the themes and evocative music of this brand-new work.
14Myths, Opera Seria, Commedia dell’Arte,
and More in Ariadne auf Naxos
TUE MAR 1 5:30–6:30PM Phillip Gainsley
Famous for its opera-within-an-opera structure, one of Richard Strauss’s most
popular works, Ariadne auf Naxos, returns to the Met. Featuring a star-studded
cast, including sopranos Lise Davidsen and Brenda Rae, mezzo-soprano
Isabel Leonard, tenor Brandon Jovanovich, and baritone Thomas Allen,
Ariadne auf Naxos exhibits the excitement of a true ensemble work. Join
Guild lecturer Phillip Gainsley as he explores Strauss and Hofmannsthal’s
masterpiece.
Can’t Get You Out of My Head:
Obsession and Suspicion in Verdi’s Don Carlos
THU MAR 10 5–6PM John J. H. Muller
For the first time in the company’s history, the Met will present the original
five-act French version of Verdi’s Don Carlos. Join lecturer John J. H. Muller
as he explores the personal relationships among the opera’s characters—as
well as the historical setting and Verdi's ability to express the personal drama
while working within the conventions of French grand opera.
Royal Romance and Redemption in Handel’s Rodelinda
THU MAR 24 5:30–6:30PM Nimet Habachy
Regarded as one of Handel’s greatest works, Rodelinda tells the story of
royal intrigue and betrayal. Versatile soprano Elza van den Heever sings the
title role, sharing the stage with mezzo-soprano Jamie Barton, countertenors
Iestyn Davies and Anthony Roth Costanzo, and tenor Paul Appleby—led
from the pit by Baroque expert Harry Bicket. Join lecturer Nimet Habachy
as she examines the opera that helped launch Handel’s career in London.
Masterpiece and Madness in Lucia di Lammermoor
TUE APR 26 5:30–6:30PM Tanisha Mitchell
Headlining an electrifying new staging by Australian theater and film director
Simon Stone, soprano Nadine Sierra and tenor Javier Camarena star in
this season’s riveting take on Donizetti’s Lucia di Lamermoor. Join lecturer
Tanisha Mitchell as she explores the inner workings of this bel canto staple.
Family Affair: Lineage and Revenge in Dean’s Hamlet
THU MAY 26 5:30–6:30PM Michael Bolton
Australian composer Brett Dean’s riveting contemporary masterpiece Hamlet
has its Met premiere this season, after its world premiere at the Glyndebourne
Festival in 2017. This production features many of the original cast members,
including tenor Allan Clayton in the title role. Join lecturer Michael Bolton
as he follows this contemporary Shakespearean adaptation from the page
to the stage.
15M A S T E R LY S I N G I N G
These master classes and showcases explore aspects of preparation
vital to the development of young performers, under the guidance
of master teachers with diverse backgrounds in vocal coaching and
operatic and theatrical performance. All Masterly Singing programs
will occur live and in person in the Guild’s Opera Learning Center
(unless a different performance location is noted).
FULL SERIES PACKAGE: $130public | $125 Guild members and students
(Includes Master Class: Harolyn Blackwell)
INDIVIDUAL MASTER CLASS AND SHOWCASE TICKETS: $40 public | $35 Guild
members and students
Vocal Showcase: A Festival of Puccini
SUN FEB 13 3–4:30PM Jane Marsh
The influences of 19th-century Italian, German, and French symphonic
and harmonic traditions are apparent with Puccini, as well as sounds from
other nations, like Puccini’s use of American, Chinese, and Japanese folk
melodies. Join Jane Marsh at the Bruno Walter Auditorium as she and a
group of talented singers present scenes from Puccini’s greatest and most
beloved works.
Master Class: Russian Repertoire
SUN MAR 27 3–4:30PM Jane Marsh
This master class explores the bold and beautiful text, music, and language
of Russia. Join Jane Marsh as she guides three singers through some of the
Romantic period’s most glorious Russian masterworks. A reception will follow
this master class.
Master Class: Baroque Singing
SUN MAY 15 3–4:30PM Steven Hrycelak
Artists of the Baroque era were expected to understand how the musical
style of an aria expressed the character's emotions, and that the appro-
priate ornamentation was expected to be improvised, likely differing in
each performance. Join our master teacher Steven Hrycelak as he guides
three singers through this magnificent style. A reception will follow this
master class.
16MASTER
CLASS
Harolyn
Blackwell
TICKET
S
$40 FOR
PUBLIC
$35 MET
PATRON
GUILD M S,
EM
AND STU BERS
DENTS
Wednesday,
March 16, 2022
7:00 PM –8:30 PM
BRUNO WALTER
AUDITORIUM
NEW YORK
PUBLIC LIBRARY
JOHN JAY CABUAY
ILLUSTRATION BY
FOR THE
PERFORMING ARTS
212-769-7028 WWW.METGUILD.ORG 17O PE R A B O O T C A M P
One of the Guild’s most popular learning events, Opera Boot
Camp offers newcomers and seasoned operagoers alike a friendly,
entertaining, and enlightening introductory exploration of various
elements of the art form. Each Opera Boot Camp is structured in
four sessions, spread over two consecutive Saturdays. The spring
Opera Boot Camp will occur live and in person in the Guild’s Opera
Learning Center. The fall Opera Boot Camp will occur virtually on
our Online Learning platform. For more information, see page 28.
FULL COURSE REGISTRATION: $100 public | $85 Guild members and students
INDIVIDUAL SESSION REGISTRATION: $28public | $25 Guild members and students
Opera and Greek Drama
SAT MAR 5 and 12 Matthew Timmermans
Published histories of opera differ in a myriad of ways, but one thing that
they all agree upon is that opera was born out of Greek drama. Greek myths
have inspired a multitude of reactions among audiences, performers, and
composers, inciting laughter, tears, and deep contemplation. Although
classicism, like most fashions, has come in and out of vogue during opera’s
400-year history, the ways that it has shaped how we hear, see, and think
about opera are inescapable. Join Guild lecturer Matthew Timmermans
for this four-part series exploring the impact of Greek drama on operatic
storytelling, composition, and singing.
Greek Drama 101
SAT MAR 5 10:30AM–12PM
What is Greek drama, and how has it changed the ways that we experience
opera? This introductory session explores these ambitious questions begin-
ning not with the birth of opera but rather with the modern aspects and
stereotypes of Greek drama found in examples including the vengeful Medea,
Wagner’s unavoidable legacy, and finally Strauss’s inventive Ariadne auf Naxos.
Orpheus and Eurydice
SAT MAR 5 1–2:30PM
Where and when did opera come from, and how have Greek myths been
adapted and transformed over time? The second lecture will chronologi-
cally trace how Greek myths have been adapted by putting them in their
historical context and comparing and contrasting performances. Beginning
with Orpheus and Eurydice, which inspired the earliest opera still regularly
performed, Monteverdi’s L’Orfeo (1607), we will trace how this myth has
been musically and textually adapted by Gluck (1762), Offenbach (1858),
and Aucoin (2020).
18The Aeneid
SAT MAR 12 10:30AM–12PM
Virgil’s Aeneid, perhaps the most famous adaptation of a Greek myth, tells
the story of the fall of Troy and Aeneas’s subsequent journey to Carthage.
The appropriately epic nature of this poem, beginning with Troy’s destruction
and ending with Queen Dido’s tragic demise, has been adapted in a myriad
of ways by opera composers. The third lecture will explore some of those
operatic adaptations, including Purcell’s Dido and Aeneas (1689), Berlioz’s
Les Troyens (1863), and Offenbach’s La Belle Hélène (1864).
Electra
SAT MAR 12 1–2:30PM
In lecture four, we’ll conclude our journey of Greek drama after the Trojan War
with arguably the most violent and bloodthirsty of Greek myths, the saga of
Agamemnon. We will begin by returning to Gluck, looking at his Iphigénie en
Tauride (1779), one of the many operas he wrote for the French stage after his
career in Italy. Then, we will discuss one of operas most powerful, beautiful,
and disturbing musical adaptations, Strauss’s Elektra (1909). Finally, we will
explore our only Greek tragedy-turned-opera sung in Greek and composed
by a Greek composer, Mikis Theodorakis’s Electra (1995).
Nina Stemme in the title role of Strauss’s Elektra
PHOTO: MARTY SOHL / MET OPERA
19S T U DY DAYS
Study Days are designed to provide a more in-depth discovery of various
opera-related topics. Taking place on a single day with one morning
and one afternoon session, Study Days provide the opportunity to
explore the world of opera in tighter focus. All Study Days will occur
live and in person in the Guild’s Opera Learning Center.
FULL DAY REGISTRATION: $55 public | $45 Guild members and students
TICKETS PER SESSION: $30 public | $25 Guild members and students
French Grand Opera
SAT OCT 16 10:30AM–12PM and 1–2:30PM Jane Marsh
The father of the grand opera style, Giacomo Meyerbeer brought his native
German orchestral elements, combined with the established Italian vocal
tradition, to the stage of Paris’s Opéra, renowned for its superior technology.
International composers were enticed to offer their monumental operas
in Paris as well. Verdi’s Don Carlos, in its original five-act French version,
is a prime example of elements of this genre, drawing upon French and
Spanish history and recreating ornate political and religious ceremony. Jane
Marsh discusses the history of this 19th-century style and the composers
and works influenced by it.
A scene from Wagner’s Die Meistersinger von Nürnberg
PHOTO: KEN HOWARD / MET OPERA
20Opening to the Experience of Wagner’s
Die Meistersinger von Nürnberg
SAT NOV 13 10:30AM–12PM and 1–2:30PM Desirée Mays
What “openings” does Wagner’s great opera elicit in us, his 21st-century
audiences? Join lecturer Desirée Mays as she explores the opera in
terms of openings: from the music and characters to Wagner’s attraction
to medieval song contests to his creativity and dramatic personal life—
and even his influence on King Ludwig II, whose own passion resulted in
the building of exquisite “Wagnerian” castles.
Russian Opera
SAT FEB 26 10:30AM–12PM and 1–2:30PM Harlow Robinson
Boris Godunov and Eugene Onegin, both appearing this season at the
Met, are two of the greatest Russian operas of the 19th century. Although
Mussorgsky and Tchaikovsky were born only a year apart, their works
embody a deep divide in Russian schools of composition: a reliance on
traditional Russian compositional styles as opposed to Westernization. In
this Study Day, Guild lecturer Dr. Harlow Robinson will explore these two
different schools of Russian classical music and discuss why opera audiences
continue to celebrate both today.
Madness in Lucia di Lammermoor
SAT MAY 7 10:30AM–12PM and 1–2:30PM Mark Pottinger
Lucia di Lammermoor is undoubtedly one of the most popular bel canto
operas in the repertory. But why? What does this work have that others do
not? Although it premiered in 1835, how does it still entice audiences into
the world of a young woman descending into madness? In this Study Day,
Dr. Mark Pottinger will discuss answers to these questions by exploring
19th-century notions of murder, madness, and the supernatural, as well as
more musically centered concepts such as vocal virtuosity, instrumentation,
and the general sonic environment of Donizetti in one of his most serious
and tragic creations.
21CO U R S E S
Like our Study Days, courses allow for a more detailed examination
of selected areas of opera performance, style, and substance. Courses
take place over a sequential three- or four-week period as our lecturers
guide audiences through the exploration of a particular subject.
The Evolution of the Ingénue
WED MAR 9, 16, 23, 30 2–3:30PM Jane Marsh
The ingénue is a young girl who is engagingly sweet and often naive. In our
operas this season, we encounter ingénues interpreted through the varied
styles of Mozart, Verdi, Puccini, and Stravinsky. Jane Marsh addresses each
ingénue—and her particular composer’s style—in a four-week course with
live singers in each session.
FULL COURSE REGISTRATION: $100 public | $85 Guild members and students
INDIVIDUAL SESSION REGISTRATION: $28public | $25 Guild members and students
Mozart
WED MAR 9
Mozart’s sophisticated, multifaceted musical characterizations of Susanna
in Le Nozze di Figaro and Pamina in The Magic Flute—which ingeniously
explore diverse aspects of style, social station, and language—have secured
their places as two of opera’s most beloved characters.
Verdi
WED MAR 16
In his middle and late periods, Verdi often turned to international literature
for inspiration. In both Gilda in Rigoletto and Nannetta in Falstaff, the
composer offers equally affecting portraits of young girls in love, but the
French style of Victor Hugo and the English style of Shakespeare led him
to paint these two ingénues with different hues and strokes.
Puccini
WED MAR 23
The premieres of Puccini’s Gianni Schicchi and Turandot were almost ten
years apart, and arias from both of the operas’ ingénues have become
some of the world’s most popular. Both scores contain elements of Puccini’s
modern harmonic dissonance mixed with lyrical passages, and the composer
showed a particular skill in capturing the essence of life’s “small people,”
as he called them.
22Stravinsky
WED MAR 30
The neoclassical feel for order and economy is apparent in Stravinsky’s
The Rake’s Progress—but also his modern style of rhythms and colorful
orchestration. The opera’s heroine, Anne Trulove, sings two very different
arias over the course of the story. They fall appropriately in Act I and
Act III and deliver vocal challenge, virtuosity, and limpid charm.
A scene from Verdi’s Rigoletto
PHOTO: BRINKHOFF/MOEGENBURG / BERLIN STATE OPERA
23CO U R S E S continued
Verdi the Innovator
THU APR 28 MAY 5, 12 6–7:30PM Victoria Bond
Verdi’s operas may have begun in the tradition of his bel canto predeces-
sors, but his inventive and restless creativity kept searching for new paths
and more innovative means of expression. The astonishing breadth and
depth of his genius grew with each of the 26 operas that he composed,
from his earliest, Oberto, which he wrote when he was only 26, to his last,
Falstaff, when he was 80. Join Guild lecturer, composer, and conductor
Victoria Bond as she examines the musical components that form the basis
of his vocabulary and how Verdi used these elements with increasing skill
and imagination.
FULL COURSE REGISTRATION: $80 public | $65 Guild members and students
INDIVIDUAL SESSION REGISTRATION: $28public | $25 Guild members and students
Part One
THU APR 28
In this first session, we compare and contrast Verdi’s early operas Nabucco
(1842), Ernani (1844), and Macbeth (1847) with Bellini’s Norma (1831) and
Donizetti’s Lucia di Lammermoor (1835). We will trace Verdi’s origins in the
bel canto tradition and see how and when he departs from that tradition,
forging his own distinctive musical style.
Part Two
THU MAY 5
In the second session, we will explore Verdi’s middle period and some
of his best-loved operas: Rigoletto (1851), La Traviata (1853), and Simon
Boccanegra (1857, rev. 1881). Examining them in the context of operas
composed at a similar time, such as Gounod’s Faust (1859) and Berlioz’s
Les Troyens (1863), contrast Verdi’s Italianate vocal writing with the style
of his French contemporaries.
Part Three
THU MAY 12
In the final session, we explore the alignment of Verdi’s late period with
Wagner’s operas, such as Das Rheingold (1869) and Parsifal (1882). Although
Wagner has long been considered the innovator and revolutionary, Verdi
also displays these qualities in his own powerful and original way in the
operas Don Carlos (1867), Otello (1887), and Falstaff (1893). Verdi’s powerful
and creative use of the orchestra is particularly evident in these brilliant
late masterpieces
24O N L I N E O PE R A - L E A R N I N G
O PP O R T U N I T I E S
Eric Owens and Angel Blue in the title roles of the Gershwins’ Porgy and Bess
PHOTO: KEN HOWARD / MET OPERA
25O N L I N E S CO R E R E A D I N G
After successful virtual score-reading classes this past season, these
classes will remain virtual for the 2021–22 season. Presented live via
the Thinkific platform, they will delve into the musical highlights of an
opera, giving beginner and intermediate readers the tools to explore
the intricate workings of a score and experience a new way of listening
to opera.
Digital copies of annotated excerpts covered in class will be provided.
Registered participants will receive further instructions for login and
participation in advance of each class. Registered participants will receive
access to revisit each webinar for 72 hours after the live presentation.
Beginner-level ability to read music is recommended.
Individual Sessions: $40—class and materials
All classes (except Porgy and Bess) take place on Saturday mornings from
10–11:30AM.
SAT OCT 30 WAGNER DIE MEISTERSINGER VON NÜRNBERG
SUN DEC 12 THE GERSHWINS’ PORGY AND BESS
SAT JAN 29 VERDI RIGOLETTO
SAT MAY 21 DONIZETTI LUCIA DI LAMMERMOOR
26O N L I N E L E A R N I N G CO U R S E S
Online Learning courses are designed to provide distance-learning
opportunities to those interested in delving deeper into operatic subject
matter. All online learning courses are self-paced, allowing for a flexible
learning schedule. Each course features video lectures, supplemental
readings, and, when applicable, score excerpts for further study. While
the ability to read music is not required for these courses, it may be
helpful for certain topics.
Course enrollment is available at any time, and content will remain available
for 60 days from the date of registration.
For pricing, additional information, and updated course offerings, please
visit metguild.thinkific.com.
COMING SUMMER 2022:
Verdi the Innovator
Can’t join us for the in-person version of this course? Take advantage of
the course in a virtual format: All three lectures will be filmed and avail-
able for you to enjoy in your own home. Join Guild lecturer, composer,
and conductor Victoria Bond as she examines the musical components
that form the basis of Verdi’s vocabulary and how he used these elements
with increasing skill and imagination.
CURRENTLY AVAILABLE COURSES INCLUDE:
La Divina and the Callas Effect
Introduction to Score Reading
Opera Boot Camp: Conductors and Conducting
Opera Boot Camp: Introduction to Operatic Singing
Opera 101: Voice Types
Opera 101: Opera History
Wagner’s Ring: Music, Motifs, and Magic
Verdi Voices
27O N L I N E O PE R A B O O T C A M P
After successful virtual Opera Boot Camps last season, the Guild’s
sell-out Opera Boot Camp series will be returning online for the fall.
This course will be hosted on our online-learning platform, Thinkific,
and will feature all the usual aspects of Opera Boot Camp—but available
from the comfort of your home. This virtual Opera Boot Camp will
be released on Monday, November 1, 2021, and is self-paced, allowing
for a flexible learning schedule.
REGISTRATION
To register and pre-order this virtual Opera Boot Camp, please visit
metguild.thinkific.com/courses/opera-boot-camp-introduc tion-
to-operatic-staging. All course contents become available online on
November 1, 2021. Registered participants will receive an email notifica-
tion when those materials are available.
Course materials will remain available for 60 days from the point at which
you begin the class.
COURSE REGISTRATION: $100 public | $85 Guild members and students
Introduction to Operatic Staging
When comparing opera with theater, some might say, “If I want to see
someone act, I’ll go to a play, but if I want to hear someone sing, I’ll go to
an opera.” But what we view is essential to opera, and in many ways, what
audiences, composers, and performers have seen has a great impact on
how we see, hear, and understand opera today. In this four-part series,
Guild lecturer Matthew Timmermans will not only explore the history of
operatic staging, the dramaturgy, sets, costumes, and bodies that bring
opera visually to life but also the direct impact that the visual has on the
sonic, making them inseparable.
The Evolution of the Director
The first lecture will begin by confronting one of the most heated debates
of the second half of the 20th century: What is the purpose of the director
in opera? In this lecture, we’ll explore the differences, similarities, and
motivations behind how directors approach traditional and modern/regie
productions. By tracing the rise of the director in opera, we will begin our
exploration of operatic staging by understanding the gestation and purpose
of an opera’s production, using the example of Wagner’s Die Meistersinger
von Nürnberg, among others.
28The Birth of Opera
What did the first opera productions look like? In this second lecture, we’ll
explore the scant traces left about opera production in the 17th century.
Then, we will explore some later operas by Handel and Mozart, comparing
how we think they were performed then with the myriad of ways they might
be experienced today.
The Long 19th Century
In the 19th century, composers and impresarios continued to find ways to
standardize their productions, maintaining control of them when they were
mounted abroad. Despite their best efforts, the majority of performances
outside major cities were presented in a multitude of ways depending on
the theater’s resources and audience. In this third lecture, we’ll explore the
tension between this multiplicity and the rise of the composer’s control
with figures like Verdi and Wagner.
The 20th Century and Beyond
The 20th century has amazed audiences with rapid and exciting techno-
logical developments, making it possible to, in some cases, better realize the
composer’s vision, and in others, actualize even the most eccentric of direc-
tors’ imaginations. In this final lecture, we will explore the tension between
technological possibility and the desire to divine and obey the composer’s
wishes by looking at productions of operas by Dvořák, Gershwin, and Glass.
A scene from Philip Glass’s Akhnaten
PHOTO: KAREN ALMOND / MET OPERA
29B I O G R A PH I E S O F L E C T U R E R S,
PR E S E N T E R S, A N D T E AC H E R S
Michael Bolton is a noted lecturer on opera in the Philadelphia region,
and more than 55,000 people have attended his lectures in the past
ten years. In addition to lectures for Opera Philadelphia, where he is
currently the Individual and Planned Giving Officer, he has lectured
on opera for the Metropolitan Opera Guild, Philadelphia Orchestra,
Curtis Institute of Music, Academy of Vocal Arts, and University
of Pennsylvania, among many others. He has also curated opera
programming at the African American Museum in Philadelphia,
Annenberg Center for the Performing Arts, Barnes Foundation, National
Museum of American Jewish History, and University of Pennsylvania
Museum of Anthropology and Archaeology, to name just a few.
Composer and conductor Victoria Bond is the recipient of a recent
commissioning grant from Opera America to create a puppet opera
for American Opera Projects. Her opera Clara premiered at the Berlin
Philharmonic Easter Festival in 2019. Scenes from her Mrs. President
were performed by New York City Opera, and the complete work
was performed in concert by Anchorage Opera and the Rochester
Lyric Opera. Her The Miracle of Light premiered with Chamber Opera
Chicago. Her compositions have been performed by American
Ballet Theatre; Jacob’s Pillow Dance Festival; the Houston, Dallas
and Shanghai Symphony Orchestras; the Saint Paul, Cleveland, and
Indianapolis Chamber Orchestras; and musicians from the New York
Philharmonic and Chicago Symphony. Her most recent recordings
include Instruments of Revelation and Soul of a Nation: Four Portraits of
Presidential Character. She was the first woman awarded a doctorate
in orchestral conducting from the Juilliard School and is principal
guest conductor of Chamber Opera Chicago.
Phillip Gainsley has been giving talks on music and music theater
for many years. For 30 years, he was a regular panelist on the Met’s
Saturday Matinee Radio Opera Quiz. He has spoken for New York City
Opera; for opera companies in Chicago, Los Angeles, San Diego, Santa
Fe, San Francisco, and Washington, D.C.; and for the Aspen Music
Festival. He currently leads pre-concert discussions for the Minnesota
Orchestra. He hosts Classical Conversations for the Sarasota Orchestra,
and for the past ten years, he has conducted an annual course on the
Sarasota Opera’s season repertoire.
30Nimet Habachy is best known in the New York area for her more than
35 years as host of New York at Night on the “old” WQXR and for her
presence on the weekend programs on the “new” WQXR. Her talks on
opera and classical music for the Guild and the Metropolitan Museum
of Art have kept her an audience favorite.
Bass Steven Hrycelak is equally at home as an operatic, concert, and
ensemble performer. Recently he sang Seneca in L’Iincoronazione di
Poppea with Opera Omnia, and has also performed with the New
York Choral Artists, New York Virtuoso Singers, Early Music New
York, Vox, TENET, Equal Voices, Meridionalis, Seraphic Fire, and the
vocal jazz quintet West Side 5. He has also been a frequent soloist at
Trinity Church Wall Street, as well as with Musica Sacra, 4×4 Festival
of Baroque Music, New York Collegium, the Waverly Consort, the
American Symphony Orchestra at the Bard Music Festival, Sacred
Music in a Sacred Space, and the Collegiate Chorale, with whom
he made his Lincoln Center debut. He holds degrees from Indiana
University and Yale University, where he sang with the world-renowned
Yale Whiffenpoofs. Additionally, he is an active coach/accompanist.
Joanne Sydney Lessner is the librettist and co-lyricist of six musicals,
including Prospect Theater Company’s Einstein’s Dreams (59E59
Theaters), which received four Drama Desk nominations, including
Outstanding Lyrics. She is the author of several plays, the novel
Pandora’s Bottle, and four mysteries featuring aspiring actress / office
temp Isobel Spice. Her performing career includes Broadway (Cyrano:
The Musical), Off - Broadway (the York’s Milk and Honey), principal
roles with New York City Opera Vox, Skylight Opera Theater, and
Weston Playhouse, and eleven Gilbert and Sullivan heroines with the
Blue Hill Troupe. She has been a contributing writer to Opera News
for 22 years and holds a bachelor’s degree in music, summa cum laude,
from Yale University.
Soprano Jane Marsh was the first singer to win the Gold Medal at
Moscow’s International Tchaikovsky Competition. She made her debut
at Italy’s Spoleto Festival in Verdi’s Otello and has been heard at most
of the world’s major festivals, opera houses, and concert halls. She
leads master classes in the U.S. and Europe and has appeared, as
performer and host, in international and U.S. radio and television
programs. Her music anthology Spirit Be Joyful!, for which she created
31B I O G R A PH I E S O F L E C T U R E R S,
PR E S E N T E R S, A N D T E AC H E R S continued
the singing translations and transliterations, was published in 2008.
She joined the Guild’s roster of presenters in 2007 and is the co-creator
of the Guild’s Masterly Singing series and young artist programs. She
currently serves as an artistic advisor and program consultant. She was
awarded the New York Handel Medallion for exceptional contributions
to the city’s cultural life.
Desirée Mays lectures both live and on radio across the U.S., has written
18 books in the Opera Unveiled series, and leads groups of opera lovers
around the world. She has been the preview lecturer for the Santa Fe
Opera since 1995. She writes, moderates panels, and speaks for the
Met Guild, Wagner Societies, and leading American opera companies.
As a librarian, Tanisha Mitchell’s curating and archival expertise in
the Metropolitan Opera Music Library helped the institution discover
unknown rare treasures that reflect its performance history. She is also
the arts coordinator at the Freeport Memorial Library, where she brings
an invigorating perspective on classical music and opera programming.
As an entrepreneur, she built an arts-outreach company that brings a new
spin on opera lectures by using technology, artifacts, and even her own
singing to teach and inspire audiences. Her opera outreach continues to
grow on Long Island through libraries, community centers, and beyond.
John J. H. Muller is a professor of music history at the Juilliard School,
where he teaches a wide variety of courses for undergraduate and
graduate students, as well as for adult laymen. Since 2010, he has been
the English language lecturer at the internationally renowned Wagner
Festival in Bayreuth, Germany, and he will be returning there this
summer. He is also a noted lecturer for the Metropolitan Opera Guild
and other organizations, including the Wagner Society of New York
and the American Psychoanalytic Association. His essay on Parsifal
appeared in the book Wagner Outside the Ring.
Naomi Perley holds a Ph.D. in musicology from the CUNY Graduate
Center. Her research focuses on the Wagnerian legacy in fin-de-siècle
France and particularly on the impact it had on French chamber music
during this period. She has presented her research at the annual
meetings of the American Musicological Society and at international
conferences. She sings professionally with Polyhymnia, a choir devoted
to singing Renaissance sacred music. She works full time at Répertoire
32International de Littérature Musicale (RILM) as subscriptions manager
and product development coordinator for the Index to Printed Music.
Dr. Mark A. Pottinger is professor of music and chair of the department
of music and theater at Manhattan College. He is the author of a number
of publications on the music and cultural life of 19th-century Europe
and the contemporary listening environment. He has presented talks
both in the United States and Europe on various topics, from the music
of Berlioz and the operas of Meyerbeer, Donizetti, and Wagner to the
sonic influence of radio transmissions on the acoustics of today’s concert
halls. His current book project, Science and the Romantic Vision in Early
Nineteenth-Century Opera, examines the natural sciences in the first half
of the 19th century and their relationship to the supernatural as found
in early German, Italian, and French romantic opera.
Dr. Harlow Robinson is an author, lecturer, and professor emeritus
of history at Northeastern University. An internationally recognized
authority on Russian music and culture, he is the author of Sergei
Prokofiev: A Biography and Russians in Hollywood, Hollywood’s Russians. He
is a frequent lecturer and annotator for the Boston Symphony Orchestra,
Aspen Music Festival, Lincoln Center, and Los Angeles Philharmonic.
Dr. W. Anthony Sheppard is professor of music at Williams College,
with degrees from Princeton University and Amherst College. He
specializes in 20th- and 21st-century opera and music theater and serves
as series editor of AMS Studies in Music (Oxford University Press).
Matthew Timmermans is a PhD student in musicology and a Public
Fellow at the CUNY Graduate Center, in New York City. He also
teaches music history at CUNY. He has published on a variety of topics
including philosophy of music, performance practice, age studies, and
diva worship. His current research explores representations of identity
in opera, musical theater, and their recordings. He has been featured as
a lecturer at the Metropolitan Opera Guild, Canadian Opera Company,
and on The Metropolitan Opera Guild Podcast. As a freelance writer, he has
written editorials and reviews for Opera Canada and Ludwig van Toronto.
33C A L E N DA R
The 2021–22 season contains a mixture of both in-person and virtual events.
Please refer to the contents of this brochure for more detailed information
on each offering.
OC TOBER
TUE OCT 5 The Psychological Downfall J. Marsh
5:30PM of a Tsar in Boris Godunov
Opera Outlook
Live, In Person
WED OCT 13 Family Portrait: Navigating Identities J.S. Lessner
5:30PM in Fire Shut Up in My Bones
Opera Outlook
Live, In Person
SAT OCT 16 French Grand Opera: Part One J. Marsh
10:30AM Study Day
Live, In Person
1PM French Grand Opera: Part Two J. Marsh
Study Day
Live, In Person
SAT OCT 30 Die Meistersinger von Nürnberg N. Perley
10AM Score Reading
Live Virtual Webinar
NOVEMBER
MON NOV 1 Introduction to Operatic Staging M. Timmermans
Opera Boot Camp
Pre-Recorded, Online Release Date
SAT NOV 13 Opening to the Experience D. Mays
10:30AM of Wagner’s Meistersinger: Part One
Study Day
Live, In Person
1PM Opening to the Experience D. Mays
of Wagner’s Meistersinger: Part Two
Study Day
Live, In Person
TUE NOV 30 To Hell and Back: W. A. Sheppard
5:30PM Matthew Aucoin’s Eurydice
Opera Outlook
Live, In Person
34DECEMBER
SUN DEC 12 Porgy and Bess N. Perley
10AM Score Reading
Live Virtual Webinar
JANUARY
SAT JAN 29 Rigoletto N. Perley
10AM Score Reading
Live Virtual Webinar
FEBRUARY
SUN FEB 13 Vocal Showcase: A Festival of Puccini J. Marsh
3PM Masterly Singing BW
Live, In Person
SAT FEB 26 Russian Opera: Part One H. Robinson
10:30AM Study Day
Live, In Person
1PM Russian Opera: Part Two H. Robinson
Study Day
Live, In Person
MARCH
TUE MAR 1 Myths, Opera Seria, Commedia dell’Arte, P. Gainsley
5:30PM and More in Ariadne auf Naxos
Opera Outlook
Live, In Person
SAT MAR 5 Opera and Greek Drama: M. Timmermans
10:30AM Greek Drama 101
Opera Boot Camp
Live, In Person
1PM Opera and Greek Drama: M. Timmermans
Orpheus and Eurydice
Opera Boot Camp
Live, In Person
WED MAR 9 The Evolution of the Ingénue: Mozart J. Marsh
2PM Course
Live, In Person
BW Event will take place at the Bruno Walter Auditorium, NYPL for the Performing Arts.
35C A L E N DA R
THU MAR 10 Can’t Get You Out of My Head: Obsession J. J. H. Muller
5PM and Suspicion in Verdi’s Don Carlos
Opera Outlook
Live, In Person
SAT MAR 12 Opera and Greek Drama: The Aeneid M. Timmermans
10:30AM Opera Boot Camp
Live, In Person
1PM Opera and Greek Drama: Electra M. Timmermans
Opera Boot Camp
Live, In Person
WED MAR 16 The Evolution of the Ingénue: Verdi J. Marsh
2PM Course
Live, In Person
WED MAR 16 Master Class: Harolyn Blackwell H. Blackwell
7PM Masterly Singing BW
Live, In Person
WED MAR 23 The Evolution of the Ingénue: Puccini J. Marsh
2PM Course
Live, In Person
THU MAR 24 Royal Romance and Redemption N. Habachy
5:30PM in Handel’s Rodelinda
Opera Outlook
Live, In Person
SUN MAR 27 Master Class: Russian Repetoire J. Marsh
3PM Masterly Singing
Live, In Person
WED MAR 30 The Evolution of the Ingénue: Stravinsky J. Marsh
2PM Course
Live, In Person
APRIL
TUE APR 26 Masterpiece and Madness T. Mitchell
5:30PM in Lucia di Lammermoor
Opera Outlook
Live, In Person
THU APR 28 Verdi the Innovator: Part One V. Bond
6PM Course
Live, In Person
BW Event will take place at the Bruno Walter Auditorium, NYPL for the Performing Arts.
36MAY
THU MAY 5 Verdi the Innovator: Part Two V. Bond
6PM Course
Live, In Person
SAT MAY 7 Madness in Lucia di Lammermoor: M. Pottinger
10:30AM Part One
Study Day
Live, In Person
1PM Madness in Lucia di Lammermoor: M. Pottinger
Part Two
Study Day
Live, In Person
THU MAY 12 Verdi the Innovator: Part Three V. Bond
6PM Course
Live, In Person
SUN MAY 15 Master Class: Baroque Singing S. Hrycelak
3PM Masterly Singing
Live, In Person
SAT MAY 21 Lucia di Lammermoor N. Perley
10AM Score Reading
Live Virtual Webinar
THU MAY 26 Family Affair: Lineage and Revenge M. Bolton
5:30PM in Dean’s Hamlet
Opera Outlook
Live, In Person
37M E T R O P O L I TA N O PE R A G U I L D
B OA R D O F D I R E C TO R S
Christian Alfonsi Ex Officio
Catia Z. Chapin Dr. Frayda B. Lindemann
Marc Chazaud Ann Ziff
George M. Cozonis
John M. Dowd Artists’ Council
John Hargraves Martina Arroyo
Elaine Hochberg Harolyn Blackwell
Alice N. Hunt Stephanie Blythe
Stuart H. Johnson, III Anthony Roth Costanzo
Sandra S. Joys Michael Fabiano
Hon. John G. Koeltl Susan Graham
Stephen C. Koval Denyce Graves
Theodore A. Kurz Thomas Hampson
Ellen F. Marcus Eric Owens
Louis Miano Ailyn Pérez
Richard J. Miller, Jr. Patricia Racette
Christopher S. Moore Frederica von Stade
Merri C. Moken
Sondra Krisher Rapoport Emeritus Council
Winthrop Rutherfurd, Jr. Susan S. Braddock
Dr. Garry Spector Diana Russell Deacon
Langdon Van Norden, Jr. Mrs. Richard Durkes
Susan Zohn Mrs. Anthony L. Geller
Mrs. Randolph H. Guthrie
Mrs. James R. Houghton
Mrs. James B. Hurlock
Patricia F. Sullivan
Elizabeth S. Tunick
George C. White
The Guild gratefully acknowledges support from The Bagby Foundation for the Musical Arts,
Dr. Lee McCormick Edwards Charitable Foundation, Midland Community Area Foundation,
The Nathan R. Jacobs Foundation, Stewart J. Pearce Memorial Fund The Windfall Foundation,
and Woodland Foundation, Inc.
Guild programs are We gratefully acknowledge Guild programs are made
supported in part by public support from the Manhattan possible by the New York
funds from the New York Borough President’s Office State Council on the Arts
City Department of Cultural Gale A. Brewer. with the support of Governor
Affairs in partnership with Andrew Cuomo and the
the City Council. New York State Legislature
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